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Interview: Daniel Hyun Lim (aka Fawn Fruits)
Tuesday April 27, 2010 |
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Photo TItle: La Luz de Jesus Photo Credit: Caroline Hwang
DON'T CALL IT A COMEBACK When Daniel Hyun Lim was barely out of high school his mother committed suicide. At that time, while in college, Daniel was already being recognized by some major curators and galleries for his incredible paintings. For understandable reasons, Lim sort of (but not completely) dropped out of the scene for several years, as he tried to cope with this tragic loss. Thankfully, Lim was able to fight his way through this very difficult time, with the help of some very important mentors, such as Rob Clayton, Alex Gross, Aaron Smith, Richard Keyes and Nathan Ota. He began to draw again. Then he drew more and more. Then he decided he would attempt to create 1000 drawings (a project he is still working on). Then, much to the delight of myself and many other artists and curators who love his work, Lim finally began to paint again. Lim has said that his new work helps him to cope with and express some darker aspects of his nature, yet most people who have seen this work will say the imagery brings them joy, humor and even some small measure of hope. Upon a closer inspection, however, one will see a small, subtle taste of darkness in many of his creations. Regardless of what his work looks like, Lim is a much happier and healthier person these days, as evidenced by his incredible work ethic and smiling, peaceful demeanor. His new found peace may also be what has led him to create incredible new works which have begun to land him in some pretty amazing galleries, including Copro Nason, Mondo Bizzaro, La Luz de Jesus, Giant Robot, Gallery Nucleus, KochxBox, Bold Hype and Dorothy Circus. With several group and feature shows coming up in the next several years, Lim seems to finally be ready to make his mark. I have worked with Lim for several years and I am continually impressed with his personally and artistic abilities. He is an over-comer and a talent who should not be ignored. I thought it would be a good time to sit down with Lim and ask him a few questions about his life, art and what he has tucked up his sleeve for the foreseeable future. DL: I won't go into details about my mother's death but I will say that it traumatized me. For 3 years, I had recurring dreams where I would have encounters with my mother, only to be awakened by the reality of my tears. I held it in for a very long time with no real outlet for the pain. I hid my emotions from everyone, including my family and friends. Although I looked fine on the outside, deep inside I felt like I was being eaten alive. At the end of my sophomore year in Art Center, I had an emotional breakdown. I was failing my Advance Rendering class and I thought to myself, I don't have what it takes to be an illustrator! The next day, I went into Alex Gross' Intro to Illustration class and basically told him that I was going to give up illustrating. We talked for a very long time and to this day, I thank Alex for slapping me across the face to wake up! I was so engulfed in self pity that I forgot that I had the creative talent within me. That night, I went home and did my first real illustration. I have since used my storytelling abilities to express my feelings. In the painting, So Much of Nobody, I painted a girl that was in a city that appeared to be crowded. I produced such paintings to cope with my loneliness. Today, the goal in my art is to bring hope to those who are in similar situations that I experienced.
Photo: title:So much of Nobody Year 2002
AMF: I met your fiance and father recently, who you seem to be very close to. What can you tell us about the importance of friends, family and loved ones, in relation to your life as an artist? DL: There is nothing more important to me than my friends and family. I day dream about becoming this rock star artist but always come to the conclusion that fame doesn't matter if my priorities are not in the right place. Thats not to say that I don't have some selfish ambitions about my work, but I keep my head straight with what is important. I strongly believe in building friendship first and networking second. There is nothing more annoying than seeing someone with the words, "agenda" written across their face. I am currently teaching at Otis College of Art and Design and one thing I tell all my students is to open up their hearts to give. This contradicts what the world tells you but eventually all that goodness will find it's way back. A lot of the opportunities given to me were in direct relation to the kindness that I showed. I consider my peers such as curators, art directors, illustrators, graphic designers, etc, my friends. This distinction allows me to always treat my everyone with the utmost respect.
AMF: I mentioned above some mentors you have had over the years and I know from our previous conversations there have been more. Tell us about the effect these people have, both in your life and art making? DL: I realized after making this list that there are far more people involved in shaping my life. I have dedicated facebook a photo album, Fawn Fruits Supporters to give credit where its due. This project took me nearly 4 hours to complete but it was vital for me to sit down and think about how I got here. For the sake of the interview, I guess I'll focus on one person. After graduating for Art Center, I had been recognized internationally by publishers like, Taschen's Illustration Now, American Illustration, Society of Illustrators etc. My ego was so big that I was waiting on the world to come to me. My pride got in the way of me becoming an artist. When reality hit, it was already too late. Rent was piling up like a mofo and I had no where to go. My paintings stopped because I couldn't support myself with fine art and illustration. While I should've made a plan to reach out to art directors, I was waiting in my little crumbling kingdom. Needless to say, my huge head got the best of me and instead of illustrating and painting like I should've I was working a 9-5 job teaching art to ungrateful pre-k to 8th graders. It's hard being an artist, but even harder when you're a fail artist. In 2007 I created a total of 7 drawings. I could conjure up an elaborate excuse but in the end, it was my complete lack of confidence that was holding me back. By this time, I had burned all the bridges of art galleries, and art directors. I severed my chances with galleries such as Roq La Rue, Tin Man Ally (Jonathan Levine) and Copro Nason because I just couldn't produce the work they wanted. It was when everyone had given up on me, that you, Andrew, reached out to me. Your support meant the world to me because in my heart, the world had basically given up on me. I give all the credit to you for making me pick up the paintbrush. Eden was the first painting I had done in a very long time. I was so scared to paint that I had to do 80% colorpencil and 20% acrylics.
Photo Title: Eden Year: 2007
AMF: I am happy I could help you in some small way find yourself as a painter again. I pushed you hard because I believed in you. Ok, enough with the mushy stuff. Other than the people mentioned above, who else has inspired you along the way? Be it artist, filmmaker, musician or just someone in your everyday life who you feel had made you a better artist/person having known them or experienced their creative offerings. DL: Nathan Ota has been my biggest influence. Like you, he has always believed in my work and pushed me not only in the arts but also in education. I have to give him all the credit for bringing me into Otis and Santa Monica College. Honestly, I didn't know that I had the ability to teach but as all great mentors have in common, he saw something in me. After teaching painting in school for two and a half years, I feel it's safe to say that my skills in painting have come full circle. Everyday I wake up, I am thankful for the opportunity to be working with such amazingly talented artists but more importantly, human beings.
Photo: Title: 27th of May Date: 2009
Photo Title: 14th of Feburary Date: 2009
DL: Before we talk about exhibition, I feel as though we need to talk about the 1000 drawing project. 1000 drawings for $100 each came about because I wanted to work on something that was , in it's essence, me. I was tired of working on illustrations that did not allow me to explore my personal voice. Eventually I had stopped working freelance and decided to go my own route. I came up with this idea to pay for rent while retaining and to regain my skills as an artist. I had not drawn in such a long time that I felt the need to work on something that will make sure I get me to work hard. I decided that I will go viral with the project because I needed an audience to keep me accountable. I prayed as I posted up my first drawing because I was $300 short of that months rent. I posted 3 drawings on the myspace bulletin boards and in a matter of minutes they were sold! Here is a photo of the first of the series The name Fawn Fruits was born with these drawings, fawn, being my favorite passive and peaceful animal and fruits, japanese street fashion. In order for me to draw these crazy girly drawings, I needed to hide behind an alias. I've put the 1000 drawings on hold while I am working up a storm for my upcoming gallery shows. It's a great feeling to see my work up on the walls again.
Photo: Title: 0001 Kindai date: 2007
DL: For a very long time I thought I was from Inchon, South Korea but my dad laid it on my pretty thick and told me that I'm from Seoul. I guess there is big a difference. My korean heritage basically comes from living in Koreatown. I came here when I was 5 and now I'm 30 so I've been here for over 2 decades. My only visit to Korea was in the Summer of 1993 so I don't really have much to say other than, I felt like an outsider when I was there. Because I had no friends, I stayed in my room watching korean drama and korean pop concerts. More than the Korean culture, I always had a fascination with the Japanese lifestyle. They have something that draws me in, especially when it comes to my art. I don't like talking about it too much because of obvious historical controversial issues.
DL: I recently went to Art Center at night and visited the Clayton Brothers and asked, "why are you guys still teaching in the continuing education department?" I love Rob Clayton's answer, "because it keeps us on the edge." I take that into my own educational philosophy. I like the environment of the art school. There is creative energy everywhere you go. Being a fairly young instructor has its pros and cons. Students can easily relate to me but sometimes, need to work my way to get the respect of the other instructors. More than once, I've been treated like a student by the other faculty. I don't really mind because their expression when they realize I'm a teacher is priceless. One of the greatest feelings you get as an instructor is when you see your students being recognized for their hard work. I make it a point to keep in touch with all my students on facebook. Recently, I created a secret group called the Dead Artists Society, a group page dedicated to my current and former students.
Class Photo Credit: Kohshin Finley
DL: This statement came as an idea that came up to me while I was down in the gutter. I wanted to draw and paint scenarios that are full of love, joy and peace. A utopian society where one can just enjoy life as they want to be, without sickness, pain or sorrow. In order for me to cope with my own feelings, I needed to paint my own personal getaway. Some of the best compliments are the ones where people say they can connect with the drawings on a deep personal or spiritual level. There are enough serious paintings in the world that shout and make big statements. I want my work to be more subtle and speak peacefully to the viewer and to bring a moment of tranquility.
photo: Title: Sweet Love Date: 2010
photo Title: Home Date: 2008 DL: There are a few galleries that I've been drooling over for the past few years and I got them! This year is jam packed with amazing group shows. I have been invited to be in Ronin Galleries Inaugural show, followed by Giant Robot's Tree show and Gallery Nucleus' Sweet Streets 2 curated by my good friend Caro. Some other galleries to mention are, Bold Hype, KochxBox, Nice/Nice, Mondo Bizzaro, just to name a few. I have a 4 person show at La Luz de Jesus, a 2 person show with Giant Robot and another 2 person show with Dorothy Circus gallery. It really is a dream come true to be showing with these galleries as they played a big part in the development of my art career.
Photo Title: Giant Robot Tree Show Date: 2010
AMF: Finally, you have told me before about the things you care about and what you feel truly matters in life...both as a person and artist. If you wouldn't mind, I would like you to share with all of us the things that matter to you. DL: I've been really stuck on this question for a long time because I don't want to step on anyone's toes but since this is the most important person in my life. To some of us, Jesus is just a figment in history or an annoying policeman. I am not here to pass judgement on anyone, I keep an open mind about everything, especially being an artist and instructor. Although I didn't mention it in the interview, He has also been one of my greatest supporter. I go into detail about this last part in my facebook fan page.
Photo: Title: Sweet DJ date: 2010
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